REVIEW: Evita - Film
Mar. 13th, 2010 09:19 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
angelofmusicMusical: Evita
Production: Film
Year: 1996
While Evita will never be one of my favourite musicals, this is quite honestly one of my favourite musical-films. I remember when it opened at the cinema, a lot of people were surprised to find that 'most of the lines are sung'. Methinks they missed the concept of a musical, really.
The orchestrations were naturally adapted to suit the film media better, and some of the lyrics and songs were changed and/or added, which made everything flow more smoothly. This show really does a great job of show-casing how clever Tim Rice's lyrics could be, particularly in some of Che's rants.
What was impressive was the scale, the size and the atmosphere that was provided in the film. The Argentina of the early 20th century had the mix of European influence, independence, latin American passion and fire, with revolutions and upheaval which were carried over fantastically into the film.
The sets, the locations, even the props were wonderfully realised. There was such a sense of place and time, and yet, it still had relevance when looking at people who will claw their way from nothing to reach the top.
What surprised me the most about this film - more than just the fact I liked it - was the choice of Madonna for Eva Peron. Eva isn't an easy role by any manner of means. I've seen the show live once, and the woman playing Eva left very little impression, but Madonna managed to be naive, hopeful, despairing, passionate, conniving, vindictive, determined and absolutely heart-breaking.
Admittedly, a lot of this could have been because camera-angles and close-ups allow a lot more opportunity for emoting. Still, it doesn't change the fact that I no longer saw her as Madonna. She became Eva. She had that drive and determination, which is part of what won her the role. She might not be the strongest singer in the world, but like Eva, she has charisma and a force of personality which perfectly befitted the character.
While she's never portrayed as 'nice', we're following her journey, and we see the struggles, which makes the insertion of the song 'You must love me' all the more devastating, when she's weak and dying, and realising that even though she's physically useless to her husband now, he still remains with her and that he loves her for more than just her drive.
I will admit that I sob like a baby through the last 20 minutes, every time I watch it. From the beginning of the riot, I'm off, and by the time Peron takes her in his arms and lifts her from the wheelchair, I'm going through tissues like a fish through water.
Jonathan Pryce brings a generous amount of dignity to Peron, who starts out as a man who knows he's being played, and is willing to use Eva as much as she's using him. He has the charm, which makes his convincing rise as the popular leader believable, as well as his appeal to Eva. Their dynamic is perfect, and by the end, Pryce shows the depths of Peron's carefully concealed feelings without ever saying a word.
Antonio Banderas, of course, gets a mention. He and Madonna were used on all promotional material for obvious reasons - he was hot and she was famous. Strong selling points, when her clinging on him has absolutely nothing to do with the show.
Still, he was fantastic fun as Che. I love his cynicism and dry bitterness about the whole affair. Plus, his expressions particularly in songs like 'Goodbye and Thank You' were priceless. It didn't hurt that in the Tango routine, he and Madonna sparked off one another, exactly as they should have. Again, like Madonna, not the strongest voice in the world, but he still nailed the character.
And last kudos go to Jimmy Nail, who managed to pull off the sleazy Magaldi to perfection, complete with fond impatience giving way to irritated frustration.
Production: Film
Year: 1996
While Evita will never be one of my favourite musicals, this is quite honestly one of my favourite musical-films. I remember when it opened at the cinema, a lot of people were surprised to find that 'most of the lines are sung'. Methinks they missed the concept of a musical, really.
The orchestrations were naturally adapted to suit the film media better, and some of the lyrics and songs were changed and/or added, which made everything flow more smoothly. This show really does a great job of show-casing how clever Tim Rice's lyrics could be, particularly in some of Che's rants.
What was impressive was the scale, the size and the atmosphere that was provided in the film. The Argentina of the early 20th century had the mix of European influence, independence, latin American passion and fire, with revolutions and upheaval which were carried over fantastically into the film.
The sets, the locations, even the props were wonderfully realised. There was such a sense of place and time, and yet, it still had relevance when looking at people who will claw their way from nothing to reach the top.
What surprised me the most about this film - more than just the fact I liked it - was the choice of Madonna for Eva Peron. Eva isn't an easy role by any manner of means. I've seen the show live once, and the woman playing Eva left very little impression, but Madonna managed to be naive, hopeful, despairing, passionate, conniving, vindictive, determined and absolutely heart-breaking.
Admittedly, a lot of this could have been because camera-angles and close-ups allow a lot more opportunity for emoting. Still, it doesn't change the fact that I no longer saw her as Madonna. She became Eva. She had that drive and determination, which is part of what won her the role. She might not be the strongest singer in the world, but like Eva, she has charisma and a force of personality which perfectly befitted the character.
While she's never portrayed as 'nice', we're following her journey, and we see the struggles, which makes the insertion of the song 'You must love me' all the more devastating, when she's weak and dying, and realising that even though she's physically useless to her husband now, he still remains with her and that he loves her for more than just her drive.
I will admit that I sob like a baby through the last 20 minutes, every time I watch it. From the beginning of the riot, I'm off, and by the time Peron takes her in his arms and lifts her from the wheelchair, I'm going through tissues like a fish through water.
Jonathan Pryce brings a generous amount of dignity to Peron, who starts out as a man who knows he's being played, and is willing to use Eva as much as she's using him. He has the charm, which makes his convincing rise as the popular leader believable, as well as his appeal to Eva. Their dynamic is perfect, and by the end, Pryce shows the depths of Peron's carefully concealed feelings without ever saying a word.
Antonio Banderas, of course, gets a mention. He and Madonna were used on all promotional material for obvious reasons - he was hot and she was famous. Strong selling points, when her clinging on him has absolutely nothing to do with the show.
Still, he was fantastic fun as Che. I love his cynicism and dry bitterness about the whole affair. Plus, his expressions particularly in songs like 'Goodbye and Thank You' were priceless. It didn't hurt that in the Tango routine, he and Madonna sparked off one another, exactly as they should have. Again, like Madonna, not the strongest voice in the world, but he still nailed the character.
And last kudos go to Jimmy Nail, who managed to pull off the sleazy Magaldi to perfection, complete with fond impatience giving way to irritated frustration.
